About Me

Although I haven't gotten a western made yet, there's interest in a western series I've created (on paper). If you'd like to take a look at the sort of things I write, please visit my website, www.henrycparke.com. Thanks for looking!

MY Q&A WITH INSP-TV

HENRY ON ‘WRITER’S BLOCK’

On July 30th, 2015, I was the guest of hosts Bobbi Jean Bell and Jim Christina on ‘Writer’s Block’, their L.A. TALK-RADIO talk-show about the art and craft of writing. You can click PLAY to hear it, or DOWNLOAD to download it.

ROUND-UP ON THE RADIO!

Last Christmastime I was a guest on AROUND THE BARN, and had a great time talking about the Round-up, my writing, and Gene Autry’s Christmas music. To listen, click HERE.

Other Stuff I Write

While this blog is strictly about Western stuff, I also write another blog, Stalling Tactics, which is about anything else. If you'd like to read my most recent post, COSTUME DRAMA TRAUMA, go HERE.

Tuesday, December 16, 2014

In August I was invited to spend a day on the set of
BOONVILLE REDEMPTION, the new Western that was filming at Paramount Ranch in Agoura.
In addition, I was given the opportunity to be a ‘background’ in the
film – for that part of the story, go HERE.

Set shortly after the turn of the 20th
century, the tale is located, significantly, in the real town on Boonville, in
Northern California. That town is
unique, in possessing its own recognized language, Boontling, and that baffling
lingo plays an important part in the movie’s plot. The story revolves around thirteen-year-old
Melinda (Emily Hoffman), who is treated by many with scorn, even though she is
the stepdaughter of the most powerful man in the Valley, Maddox (Richard
Tyson). When she learns that she was
born out of wedlock, she is determined to unlock the mystery of her true
father’s identity, and what became of him, a mystery wrapped up in the
enigmatic language of Boontling.

No stranger to the rural life of the film’s
characters, Pat Boone grew up on his parents’ dairy farm in Nashville. He laughs about the time he guested on THE
TONIGHT SHOW, and told Johnny Carson that he’d milked many a cow. Band-leader Doc Severinsen countered that
he’d also grown up milking cows, and Carson set up a milking contest. Pat Boone won, but he admits that it wasn’t
quite fair. “Doc started the orchestra playing
‘Turkey in the Straw’ for one minute. I
followed him, and I got twice as much milk.
But what he didn’t take into account, and I didn’t either, but when you
start milking a cow, it doesn’t start flowing freely at first – you have to start
pulling the milk down. He got about a
quart, but when I sat down, the cow was ready, so I got two quarts. And he was so chagrined to be out-milked by
a pop singer.”

Pat as Doc Wood, waiting for his cue

DOC WOODS: “I did my duty; I brought you into this
world, but it would give me great pleasure to take you out again.” Pat Boone loves that line, loves that his
character, Doc Woods, has an edge to him. “I see the doctor very like Doc from GUNSMOKE.
I see this as a Jimmy Stewart kind of thing. And Jimmy Stewart’s best
characters are when he lets his faults show.
He’s irritable, he’s cantankerous, he’s judgmental, flinty, but when the
chips are down and someone needs him, he’ll rise to the occasion. I love this about this character. Also, it’s
my first Western ever. I did about
sixteen other films, but they were movie musicals, and JOURNEY TO THE CENTER OF
THE EARTH, and romantic comedies…”

HENRY: And PERILS OF
PAULINE; I loved that.

PAT: Did
you? Did you know, PERILS OF PAULINE was
supposed to be a TV series? We filmed
most of the film as pilot, and ensuing segments for a series. But it didn’t get sold for some reason, and
so they went ahead and added more scenes, and made a movie out of it. And I loved playing that character too; the
completely naïve multi-millionaire. I
played somebody like that with Debbie Reynolds and Walter Matthau in a film
called GOODBYE, CHARLIE. And so I probably, to many people, embody that kind of
character, that’s almost too good,
goody-goody, but kindly, and you like him.
But you don’t expect anything confrontational out of him.

HENRY: How would you describe BOONVILLE REDEMPTION?

PAT BOONE: It’s
almost like an Agatha Christie Western.
We consider this a faith-based film, which is entertainment for the
whole, broad audience, but from a faith perspective. It’s not preaching to anybody, but turn of
the century, most everybody went to some kind of church. And they believed in the Golden Rule, things
that are Biblical. And so that emerges
from time to time in the script.
There’s a scene where a man’s been shot, and Doc, when he tries to go
into the wound in his chest, discovers – this was my idea – that he had a New
Testament in his pocket. And in that New
Testament was a little wooden cross. And
the bullet goes right through the cross, shatters it, splinters it, and the
Bible, into the guy’s chest – because it was a big gun he shot him with. But Doc, when he sees the man’s still living,
and sees why he didn’t die, though he still could, he says Lord, you did your
part. Please help me do mine. I like the imagery.

HENRY: You
mentioned that this is your first Western.
Are you a Western fan?

PAT:
Definitely, yes. I mean, who
isn’t? That’s the good thing about
Westerns; you can count on them. They’ll
never go away.

HENRY: They
do seem to be making a comeback.

PAT: And you
know, now is time for a film like this.
And TV series like BONANZA and WAGON TRAIN. And films where the good guys always
won. And yes, they may have had faults
and foibles, and they always had problems.
You knew the bad guy was going to get what he deserved, and yet you
wanted to see how it happened. And you
felt good at the end of it; it just reinforced your faith in the backbone of
early America. And that’s what endeared
us to the rest of the world; that was one of our most important exports to the
world. Our Western films, where the bad
guy got what he deserved, and the good people won. It was never a downer. There’s reinforcement of good moral
values. So the rest of the world envied
America. Now, for the last several
decades, we’ve been exporting, to huge success, shows like DALLAS, and many
other shows where people do all kind of evil tings, and they’re Americans, and
they’re rich, and all they care about is their money, and their dynasty, and
their power. And they win.

At this moment, director Don Schroeder stops by to
ask Pat about a schedule change for over the weekend. Does Pat have a preference from a couple of
options? He says the only thing he likes
to not miss on Saturday is his workout at the gym. No problem – they’ll schedule around it. They talk for a moment about how the editing
is coming along, and how convincing Pat is as the crusty old Dr. Wood.

PAT: It’s
funny; when I put on the clothes, this mustache, I just feel older. I walk – these shoes, of course, are platypus
feet shoes, and that works.

HENRY: How
did you get involved with this project?

PAT: It’s
interesting; I think I was meant to be involved. First off, my name was Boone, and my dad and
granddad did the genealogical search and traced our way direct back to Daniel
Boone, I think to his son Morgan. So
I’ve always been proud of that, and a little bit miffed when Fess Parker, who
played Davy Crocket, then was picked to play Daniel Boone as well. I thought wait a minute, I’m an actual direct
descendant – why don’t I play him? Didn’t happen, but that was okay; Fess was
great. Now, it was only about a year ago
one of my musicians said to me, are you aware that there’s a town in northern
California called Boonville? They have
their own language – they created an alternative language. They speak English, of course, but they
created many alternative words and phrases so they could speak in front of outsiders,
and the outsider wouldn’t know what they were talking about, for just a little
extra privacy, that rural people like.
Boontling, it’s called. So I got
interested in that, just idly, thinking I’ve just got to visit Boonville some
day, and walk among my fellow descendants of Daniel. So my musical director for thirty years is
scoring the music for this film. And he
was talking to the director Dan Schroeder, who was just here. And he said, you know, I work for Pat
Boone. Do you think there might be a
role in your film for him? He said, you
work for Pat Boone? Well, it’s a
modestly budgeted film, but if he’d like to, yes. And if not, maybe he’d like to help us get
the rest of the funding for the film. So
I met with them, and I read the script, and I loved the story. And they said, we see you as Doc Wood. And I said, I will be Doc Wood, and not only
that, I will help you get the rest of the funding. And I did, and I invested materially in it
myself, because I think it’s a good film.
I’ve been involved with a number of good films. And the fact that it’s a Western, and the
fact that it’s faith-based, the fact that I liked the part, and I believed in
these people that are making it. And the
music, there will be some of my music woven into the score, because I’ve done
at least twenty gospel albums --

HENRY: It
won’t be LOVE LETTERS IN THE SAND?

PAT: It won’t
be LOVE LETTERS IN THE SAND, but twenty gospel albums, and about four of them,
country gospel, southern country gospel.
And so we’re going to close, when the problems are solved and the
victories are won, and there’s a wedding, and everyone wants to celebrate,
we’re going to close with a rousing rendition of I SAW THE LIGHT. There’ll be a square-dance, and everyone’ll
be celebrating. I was worried about that
– they wanted me to do a solo. I said,
I’ll be wearing this mustache, because I want to look old, I want to look like
a country doctor. And when I start
singing, if Pat Boone’s voice comes out, won’t that be a bit incongruous? So they’re just going to play my record. And people who recognize my voice, it’s okay;
the movie is over. They know I played
Doc Wood, but I’ll stay in character, I’ll still be Doc Wood all the way to the
titles. But that’s how this came about,
just a weird set of circumstances. My
name is Boone. It’s called BOONVILLE
REDEMPTION. There’s no ‘e’ in
Boonville. There are some records that
say Daniel Boone didn’t spell it with an ‘e’ either. ‘D. Boon kild a bar,’ someone found carved on
a tree. And I hope I’m a boon to the film.

JUDY BELSHE-TOERNBLOM

HENRY: You’re
both the writer and executive producer of BOONVILLE REDEMPTION. How did the story come to you?

Judy Belshe-Toernblom

JUDY BELSHE-TOERNBLOM: It’s been seven years in the works. We had taken a trip up north to Lakeport, to
visit a friend. And I don’t like to
return the way that I go. So I always
look for interesting places to stop off on the way back, and one of the places
I saw was Boonville. And I saw that they
had this quirky language called ‘Boontling’, so I thought, I’m going to go
there, just what to see what that’s all about.
When I got there, it was nothing; just a little dusty town, and I
couldn’t find anyone to speak Boontling, and I thought, this just doesn’t seem
right. I found books about Boontling,
and they would give you the English words.
But as I began to want to know more about it, I discovered I needed to
flip the words around, so I wrote the book ENGLISH TO BOONTLING. I just used the nice words; I left all the
bad words out. I began to use it as a
dictionary for myself, and I fell in love with the place. Well, I began to learn where the Boontlingers
were hiding. We ran across Ite, which is
Boontling for Italian, and his (real) name is Don Cardini. Then I ran across Donald Smoot, whose name is
Deekan, because he was a shy boy, and to ‘deek’ means to stare. Not like ‘deacon’ of a church. Then we ran across a young man named Jeff
Spiffy Burrows. And Jiffy took us all
over the valley, showed all the hidden spots where things used to be; if I made
an album of it, it would be a large album of empty lots. (laugh)
But I began to get more and more flavor for this place. I went to Boonville twice, I interviewed the
people, and I talked to the historical society, and as I began to hear about
the history, I began to think that this was a charming time for this town. So this story began to unfold. And I write very fast, but just skin and
bones, it didn’t have form yet.

HENRY: What
time is the story set?

JUDY: It’s
set in 1906. It starts thirteen years
earlier, when our little girl is conceived.
Now she’s thirteen, and old enough to ask questions. And she wants to know, ‘What did I do?’ Because the town scorns her, because she was
born out of wedlock. And then the
richest man in town, who is a really bad guy, took (her mother) in and married
her, because he always wanted her. But the
girl’s left with this kind of ‘ick’ on her life, and she wants answers. And in that process she discovers that people
held a lot of secrets. Therefore, it’s BOONVILLE
REDEMPTION, when we come through all the secrets. While I was writing it, I was writing another
film, and it was just a good family film.
And I kept hearing God’s voice saying, “Where’s my part?” And I kept thinking, yeah, I’m just writing a
good family film, but I’m not writing a Christian film. And I kept getting that knocking on my heart;
that still, small voice that you hear.
And I thought, my people have some problems, and these problems
shouldn’t be the kind that they just work out with a pencil. They need to show their trust in God, how God
can turn an impossible situation around.
And so each one of our characters, each one of our heroes, from all
different walks of life, all different nationalities, they have to reconcile
their faith versus their superstitions, versus their false doctrine, and come
to the realization that if they trust God, all heck may break loose, but
they’re going to get the better result by trusting God, and that’s what they
do. I think in this story, we all get to
make our own choices, but we don’t get to decide the results.

HENRY: I
understand that you started shooting this about a year ago, with a trial
sequence. How did that work out?

JUDY: We
didn’t have any money. We had three
backers at that time, and there wasn’t enough money to shoot – especially a
period piece. We went back to our
investors, and said we don’t have enough money to make this film, so we’re
done. To even do a trailer is going to
cost us several thousand dollars. Our
investors came to us and said, ‘We’re going to give it to you.’ So we came here to Paramount Ranch. We brought
our director Don Schroeder, (cinematographer) Virgil Harper, and these men –
the only thing missing about them are wings.
They’re amazing men. They took
ahold of this script, and they worked on it; no compensation, they just wanted
to see this happen. And they made an
incredible trailer at that time, which was basically the proof of concept. And we thought, this is great; we’ve got
something good, we can go back to more investors, we can try to get more money,
enough to shoot this film. Along the way
we ran into a few people, Pat Boone being one of them, who ultimately became
one of our investors. And as a result,
no one ever saw the proof of concept trailer except for us and our close
friends and family, because the money was raised on God moving the hearts of
our investors, and the story.I was
entrusted with the story from God, and tried to keep it scripturally accurate,
so nobody has any issues with it, and so it can be used as a Bible-study later
on.

HENRY: Is the
entire film being shot here at Paramount
Ranch?

JUDY: No, we
were at a couple of different locations.
We were at Ventura Farms, over at Saddle Rock, and the remainder is
being shot here because we need all of the town shots. But we had the houses, and beautiful terrain
back there. Along with six million flies
and seven thousand bumblebees. Yuck, it
was horrible. I mean, the bees were so
strong that they could carry your ham sandwich away. Ridiculous.

HENRY: The
story takes place in the early 20th century. Do you consider it a Western? Is that your genre?

JUDY: You
know, it is a Western, but it’s not a Western like ‘O.K. Corral’, okay? It just happens that we’re in that era. And that story itself is universal. It doesn’t matter what generation sees this
film; they’re going to relate to the story.
We already have people coming up to us saying, ‘that scene where the
mother was abused, I went through that.’
‘That scene here brought me to tears.’
So I’m watching different themes of the story resonate with different
people for different reasons, and that is really cool.

HENRY: Who do
you see as the audience for this picture?

JUDY:
Everybody. We hit all four
quads. We have the youngest of the kids,
and we have as old as our grandma. And
we’ve got several nationalities. We’ve
got American Indian, we’ve got Spanish, we’ve got African American, we’ve got
Italian, Caucasian. Our African American
woman who is one of our stars is from Nigeria.
Her name is Stephanie
Okereke; she plays the part of Doris (Grandma’s housekeeper). The history is that the American slaves were
sold by the Nigerian people in the late 1700s.
She did not know this. We bring
that into our story. Doris realizes that
her father is probably in prison someplace.
And she says, if he’s in prison, we know what prison is about. We came from slavery, sold by our own
people. So we’re bringing in that
story.

HENRY:
Speaking of casting, you’ve assembled a remarkable cast. You told me that Pat Boone actually came in
as an investor. How about Ed Asner? How’d you get him?

JUDY: You
know, I needed a hanging judge, and I thought Ed Asner is a great hanging
judge. I wanted the guy who is just so fed up with little towns and all their
nonsense. He’s a circuit judge, and he
has to ride, and maybe he should have retired ten years earlier. He was presented to us through his agent, and
that was just it – he’s our guy. He read
it right away, and responded the very next day; he already had notes for
us. When your actors give you a note,
you’ve got to pay attention to it. My
feeling is criticism is a blessing, because that means they didn’t understand something,
or they need something clarified by us. He gave us some amazing notes, and we
made the adjustments that he thought would make it better.

HENRY: You
have Diane Ladd.

JUDY: Diane
Ladd came to us through our line producer, and we had wanted her for a long
time. So when the movie actually came to
fruition, we were able to get to her. This
woman was so tender and so sweet with the kids, you really believed that she
was their grandmother. There’s a boy in
the story, and she’s not his grandmother, but she treats him as one of her
own. She had ideas, and twists and
tweaks that she wanted to do on it also, and if it made sense we went with it,
and she’s got years and years of expertise, and so we need to do it. She was magic on the screen. As a matter of fact, one of the scenes she
was doing, Pat Boone was in, but he had to walk off; his character was
done. And she brought him to tears,
because it reminded him of when he said goodbye to his mom.

HENRY: I understand she speaks Boontling in the
movie.

JUDY: She
does. It’s the first movie to ever use
Boontling, and to use it in solving a mystery.

HENRY: That’s
fascinating. And of course this is a
Western, it’s a Christian film, and it’s also a mystery.

JUDY: We
needed the struggle, we needed the conflict, or there is no film. And the conflict works on both sides: why
isn’t someone giving up the information?
What are they going to lose if they give up the information. Everyone has something to lose if they
confess.

HENRY: I
watched the little documentary you have on the website. In a sense, this language was developed to
keep secrets. It didn’t just develop
organically because it was a population away from other people, and words just
developed. It was a consciously
developed thing.

JUDY: It was
organic, in the fact that, where my story-line comes from, there was a girl who
was pregnant, and nobody wanted to talk about it. So they began to talk about it in another
way. In a small valley like the Anderson
Valley, once you got in there, you were in; you didn’t want to haul those oxen
back over that hill again. So it was a
combination. Yes, they wanted to make up
some secret words about this girl, and then they began to use other words. There was a man in town named Jefferson, and
he always had a big fire going, summer, winter, spring or fall. So they began to call fires ‘jeffers.’ All things that worked with motors, that were
machines, were called ‘moshes’. So when
the first fire-engine came to town, it was called a jeffer-moshe. Schools were called wee-hees, because that
was the little house for little kids.
The first man in town to have a telephone was named Walter, and it cost
half a dollar to use, so a payphone was called a bucky walter. Peace-officers were called high-heelers, and
the book is full of stories of how those words came to be. So it may have started to keep the secret of
this girl, and then it just continued to grow to more than a thousand words in
their vocabulary.

HENRY:
Getting back to your cast, you also have Robert Hays.

JUDY: Robert
Hays came in for a really sweet cameo. I
wanted someone to play the pastor that the people liked. And everyone likes Robert Hays. And what I think they’re going to enjoy about
him is his kind nature. And I am very
personally tired of pastors being portrayed as insane maniacs who are out to
kill the entire church for whatever reason, or sleep with half of it. And I wanted a nice, believable, kind pastor,
and I hired Robert.

HENRY: Faith-based movies are getting a lot more
respect now than they were even a couple of years ago, because there’s been an
audience proven for them.

JUDY: Because they’re making good ones: just because
you’re Christian doesn’t mean you have the right to make a crappy film. “Oh, God will fix it in post.” No, He won’t.
You’ve got to make a good film.

Part Two of my BOONVILLE REDEMPTION story will
appear in next Sunday’s Round-up.

The folks behind the Movies & Music Network are launching a new streaming movie
network this Wednesday, called the 99cent
Network. They’re going to be
offering several ten-film collections – including three different Western
collections – and you can select any three from a collection for ninety-nine
cents! For $1.99, you can buy all
ten! Heck, for six bucks you can buy all
thirty Westerns! Too many exclamation
points? And these films are yours to
stream for life – you can even share ‘em with your friends! There’s some cheap Christmas shopping for
you!

They’ll also be offering movie collections in other
genres, including comedy, horror, sci-fi, holiday, and more. What Westerns will they be? I don’t know yet – I’m not even posting the
link here until Wednesday, because it won’t link to anything until then. Come back on Wednesday, hit the link, and you’ll
be magically transported to the 99cent Network! Or visit the Round-up Facebook page on Wednesday,
hit the link, and the same marvelous thing will happen! For all of you that are more involved with
social network stuff than I, I’ve got a couple of hash-tag things I’m supposed
to do something with, but cannot fathom what.
So I’ll put ‘em here: @99centnet #99centnetwork
. See you Wednesday!

MYSTERY AT MOVIE RANCH by Darryle Purcell – a Book
Review

Mystery readers’ love of Hollywood made it natural
that many a crime story would be set in the movie capital, cast with imaginary
stars at fictional studios. This gave
birth to a sub-genre of Hollywood mystery fiction where real stars were at the
center of the action – many a cowboy hero solved mysteries in Big Little Books,
and Lela E. Rogers wrote about her daughter in GINGER ROGERS AND THE RIDDLE OF
THE SCARLET CLOAK. Andrew Bergman, who
would later write the screenplays for the classic comedies BLAZING SADDLES, THE
IN-LAWS and HONEYMOON IN VEGAS, revived the idea in the 1970s with two
delightful bestselling comedy-mysteries set in Hollywood’s golden age, THE BIG
KISS-OFF OF 1944 and HOLLYWOOD AND LEVINE.
Following Bergman’s lead, Stuart Kaminsky would write twenty-four Toby
Peters mysteries, including, MILDRED PIERCED and MURDER ON THE YELLOW BRICK ROAD. George Baxt penned at least a dozen Jacob
Singer mysteries, including THE DOROTHY PARKER MURDER CASE and THE TALLULAH
BANKHEAD MURDER CASE.

Well, the subgenre has been dormant for a while, but
now Darryle Purcell has revived it with MYSTERY AT MOVIE RANCH, the first of
his Hollywood Cowboy Detective
series. The novelty here is that while
all of the previous movie star mysteries have been set at the majors – MGM, Warner Brothers, Paramount – and
focused on the top box-office stars and directors of the day,

MOVIE RANCH is
set squarely on Poverty Row, at Mascot
Pictures no less! Set in 1934,
during the Great Depression, the detective character and wise-cracking narrator
is Sean Woods, an L.A. Examiner
reporter who got canned for offending important people, and now is working as a
P.R. man for Nat Levine’s studio. And
instead of focusing on Bogart or Gable making CASABLANCA or GONE WITH THE WIND,
Sean is trying to keep Ken Maynard sober long enough to finish making his
Mascot serial, MYSTERY MOUNTAIN. But
Maynard’s drinking is a small part of the problem – someone is trying to kill
the cowboy and scuttle the production.

As the cover art and illustrations by Purcell
indicate, MOVIE RANCH is meant as a pulp story. Told in twelve chapters, just
like a serial, Sean and Maynard enlist the aid of Maynard’s real pal Hoot
Gibson in trying to flush out the bad guys, utilizing Maynard’s and Gibson’s
real-life experience as plane pilots.
They deal with serial-like menaces, including sliding panels, a masked
villain known as The Viper, a secret fascist training camp, a
mad-scientist-created monster, and more real-life dangers like the Klan, Nazis,
and Lucky Luciano, who is planning to unionize Hollywood under his control –
while squiring around poor, doomed Thelma Todd.
MOVIE RANCH really is a name-dropper’s delight, with Russ Columbo, Art
Acord, Syd Saylor, Snub Pollard, George Chesebro, and even Flip the Frog turning
up either as characters or references.

In terms of the writing and story-telling, Purcell
is breezy and entertaining, but not yet up to the standards of Bergman and
Kaminsky. I didn’t get a great sense of
time and place – I never figured out which movie ranch it was supposed to
be. Some of the dialogue is stilted and
tends towards speechifying. On the other
hand, if you read Lucky Luciano’s speeches aloud, you can hear Sheldon Leonard
saying every word, which is just how he ought to sound.

The second mystery in the series, MYSTERY OF THE
ARIZONA DRAGON, is already available for download, and soon will be in paper as
well. Set during the filming of CHARLIE
CHAN GOES WEST, it unites Sean, Ken and Hoot with Warner Oland and Keye Luke. Number three, MYSTERY OF THE MATINEE MURDERS,
will add Orson Welles and Ray ‘Crash’ Corrigan to the mix – now that’s a pair
to draw to! MOVIE RANCH is available
from Amazon.com here HERE.

TCM SHOWCASES DISNEY WESTERNS NEXT SUNDAY!

As I mentioned here a couple of weeks ago (HERE is
the story if you missed it). TCM and Disney are joining forces, and
bringing a lot of Walt’s rarely seen treasures out of the vault.They will be shown in occasional programming
blocks a few times a year, commencing this Sunday, December 21st, at
5 p.m. Pacific time.Here’s the
schedule: Three classic cartoons, SANTA’S WORKSHOP, ON ICE – with Mickey and
Minnie, and CHIP & DALE.5:30, THE
DISNEYLAND STORY.6:30, THE RELUCTANT
DRAGON (1941), starring Robert Benchley. 8:00, DAVY CROCKETT: KING OF THE WILD
FRONTIER, starring Fess Parker.9:45 THE
VANISHING PRAIRIE (1954), the nature documentary by which all others are
measured.11:00 THIRD MAN ON THE
MOUNTAIN (1959), starring James McArthur.And finally, at one a.m., WALT DISNEY PRESENTS, featuring the making of
THIRD MAN ON THE MOUNTAIN and 20,000 LEAGUES UNDER THE SEA.

THAT'S A WRAP!

Week I'll conclude my story on BOONVILLE REDEMPTION, and have a review or two, depending on how much reading and how much watching I manage between Christmas-shopping safaris.

Happy Trails,

Henry

All Original Contents Copyright December 2014 by Henry C. Parke - All Right Reserved